Introduction to Craft

Transcription

1 Introduction to Craft By the 1700 s, certain media came to be considered as, while others were termed crafts Crafts meant items made to be used rather than simply looked at Historically, one learned craft from a master (on in the family), then later, one joined a guild-not always easy The distinction today between craft and fine arts is blurred

2 Ceramics The manufacture of a ceramic object requires the shaping of clay, which is then baked at high temperatures to make it hard In a process called wedging, the clay is kneaded to work out pockets of air and make the clay easier to work. Once it has been shaped, the clay is left to dry. Once dry, the clay is fired in an oven called a kiln at a high temperature. To add the finishing touches, artists apply a glaze- then usually fired again

3 Ceramics studio equipment. 2: Electric ceramic wheels for pottery production

4 Ceramics studio equipment. 3: Kilns for firing the ceramic objects

5 Coiling to create a clay objects has been around since ancient times A coil is created by rolling the clay on a flat surface so that it extends into a long rope-like shape When making a round vessel, the artist wraps the coil around upon itself and then fuses the sections together by smoothing

6 Seated Figure, Oaxaca, Mexico, Zapotec style, 300 BCE 700 CE. Ceramic,12⅝ x 7 x 7⅜. Cleveland Museum of Art, Ohio

7 Seated Figure, Oaxaca, Mexico, Zapotec-style This figure was made to be buried in the tomb of a Zapotec ruler and may portray a god or possibly a companion for the deceased The coil method was preferred for constructing rounded objects because the organic line of the coil could be controlled in a way that would complement the piece s essence or spirit

8 Throwing A potter s wheel consists of a round disk that revolves while the ceramist shapes the object By 3000 BCE the Chinese were using potter s wheels The potter centers a mound of clay on the turning wheel and then shapes a pot by poking a hole in the middle of the mound, and then pushing and pulling the wall of the pot up and out with both hands as it turns Throwing a big pot Raku artists and firing process

9 Shoji Hamada National Treasure in 1955 Raku Vessel Raku steps: wedging, throwing or forming, air dry, First fire, glaze, 2 nd fire, throw in wood Or paper to smoke

10 Slab Method When artists use slab construction to make a ceramic object they first roll out a flat sheet of clay They then cut this clay into the shapes they need to make the object To make a three-dimensional object, the ceramist takes care to join the corners This style of working lends itself to making boxes and other forms that have large flat sides

11 Peter Voulkos, Gallas Rock, Stoneware with slip and glaze, 84 x 37 x 26¾. University of California at Los Angeles, Franklin D. Murphy Sculpture Garden

12 Peter Voulkos, Gallas Rock Slab construction (and wheel throwing) used in an organic and Expressionistic way The slabs are evident in the flat planes that dominate this eight-foot-tall sculptural object What do you think of this piece? Art or not? Craft or not? Is it as useful as a ceramic pot, if the artistic message fails?

13 Glass The process of applying intense heat to melt silica together with lead is the basis for most glass production Glassblowing, the process of forming a glass vessel by forcing air into molten glass, usually by blowing through a tube, was in use by the first century BCE in Syria and was later adopted and perfected by the Romans

14 Metalwork Metal can be heated to a liquid state and poured into molds or CAST It can also be heated and then hammered into shape, or it can be worked when it is cold or FORGED It can also be cut and joined or SOLDERED or WELDED It can also be RIVETED to other materials like wood or plastic Most metals are strong but malleable and can be bent or stretched to fit the needs of the artist

15 Death mask from Shaft Grave V, Grave Circle A, Mycenae. Also known as Mask of Agamemnon. Gold, 12 high. Greece, c BCE. National Archaeological Museum, Athens, Greece

16 Death mask from Shaft Grave V, Grave Circle A, Mycenae The artist then carefully hammered the surface of the thin metal until the shape and texture of the design was imprinted in the metal The artist has given the impression of a human face by placing objects, like cowrie shells for the eyes, under the surface of the metal and forcing the gold sheet into its final shape This type of mask was used as a burial mask to cover the face of the departed

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18 Fiber Fibers are threads made from animal or vegetable materials (such as fur, wool, silk, cotton, flax, linen) or, more recently, synthetic materials (for example, nylon or polyester) The fibers can be spun into yarn, string, or thread, then woven or knitted into lengths of textiles

19 Faith Ringgold. Tar Beach /8 x 68 1/2 in. Quilting as a way to remember, celebrate and document family ties has a long history.

20 Tlingit Chilkat dancing blanket, 19th century

21 Tlingit Chilkat dancing blanket The Tlingit people, from the western coast of Canada and Alaska, wove this entirely by hand from goat wool and cedar bark In many cases these designs are abstract depictions of animals Blankets were worn on ceremonial occasions Very expensive, and the prized possessions

22 Dave Rich Teddy Bear 2003 Fiberglass Leisa Rich 2010 Organic Fiber Wall Piece

23 Wood Wood, an organic plant-based material, deteriorates over time, so we have few ancient examples of art objects made in this medium

24 Detail of studiolo from the Ducal Palace in Gubbio, Italy, Giuliano da Maiano, after a design by Francesco di Giorgio Martini, c Walnut, beech, rosewood, oak, and fruit woods in walnut base, x x 12 7¼. Metropolitan Museum of Art, New York

25 Detail of studiolo from the Ducal Palace in Gubbio, Italy Intarsia is a kind of wood mosaic using woods of different colors The artist took very thin, shaped pieces of wood and organized them to create a masterpiece of illusionistic depth and value Federico da Montefeltro, the duke of Urbino wanted the symbols in this design to reflect his achievements as a ruler, military commander, collector of books, and patron of the arts

26 Conclusion Functional crafts are still practiced and remembered as a part of national histories and cultures, and sometimes as part of a region s identity The makers of functional items refined and improved them until they became objects of art The artist of hand-made objects understands the attributes of various materials and chooses those that fit the function he or she needs it to fulfill Not all crafts are considered art. But many craft works have been recognized for their excellence and attention to design and originality